Horowitz recording ...

[felval]

Did Horowitz recorded either Liszt's "Reminiscences de Don Juan" or Chopin's 3rd Sonata ?

[thracozaag]

  No; although both were apparently in his repertoire from his student days.

koji

[rob47]

Did Horowitz recorded either Liszt's "Reminiscences de Don Juan" or Chopin's 3rd Sonata ?

I read he played don juan for his graduation recital, so praobbly was not recorded as that was a long time ago

and according to this guy no he didnt record either.
https://web.telia.com/~u85420275/alphabetical.htm he never recorded the 3rd sonata.

[BoliverAllmon]

Does anyone have a list of his recorded concerto repertoire?

thanks

[thracozaag]

Off the top of my head (it's a surprisingly small list):

Beethoven #5
Brahms #1 and 2
Rach 3rd
Thaikovsky 1st
Mozart 23rd
 
  Keep in mind early on he did have things such as both Liszt concerti, the Chopin f minor and Rach 2nd (which RCA begged him to record to no avail).

koji

[Goldberg]

According to an interview with Gyorgy Sandor (conducted by Francis Romano and another man), Cziffra also played the Don Juan Fantasy in "his bar days," which, although pretty tangential here, is still pretty neat to think about! Upon hearing this I hastened to assault Mr. Romano via email demanding a recording of this undoubtedly cosmic combination, but alas not even Cziffra recorded it...

[BoliverAllmon]

Off the top of my head (it's a surprisingly small list):

Beethoven #5
Brahms #1 and 2
Rach 3rd
Thaikovsky 1st
Mozart 23rd
 
  Keep in mind early on he did have things such as both Liszt concerti, the Chopin f minor and Rach 2nd (which RCA begged him to record to no avail).

koji

that list is pretty small. His entire repertoire was on the small end wasn't it?

boliver

[thracozaag]

that list is pretty small. His entire repertoire was on the small end wasn't it?

boliver

  His solo repertoire was actually quite large, however he narrowed it down considerably when he began serious concertizing from the mid 30's onward.

koji

[thracozaag]

According to an interview with Gyorgy Sandor (conducted by Francis Romano and another man), Cziffra also played the Don Juan Fantasy in "his bar days," which, although pretty tangential here, is still pretty neat to think about! Upon hearing this I hastened to assault Mr. Romano via email demanding a recording of this undoubtedly cosmic combination, but alas not even Cziffra recorded it...

  The two Liszt performances we Cziffra maniacs crave are that Don Juan and a live B minor Sonata; alas

koji

[Goldberg]

Indeed.

Alas!

We have hundreds of other pieces/recordings of Cziffra, yet we can still find something to moan about...

[BoliverAllmon]

  His solo repertoire was actually quite large, however he narrowed it down considerably when he began serious concertizing from the mid 30's onward.

koji

i wonder why the reasons for it.

[thracozaag]

i wonder why the reasons for it.

  When you concertize rather extensively, it doesn't allow for very much practice time.

koji

[masman]

I have a recording of horowitz playing don juan some where

[thracozaag]

I have a recording of horowitz playing don juan some where

  I find that unlikely in the extreme.

koji

[felval]

I have a recording of horowitz playing don juan some where

I've been doing some research since I posted and would find this unlikely as well.  You might have downloaded an incorrectly named file.  That's always a problem when downloading music.

On another note, why is this piece named "Don Juan?"  From what I remember, there's no Don Juan in "Don Giovanni", or is there?

[Goldberg]

No, I don't think so.

But I did find this really interesting passage about the Reminisces, taken from the Dover book "Franz Liszt: Piano Transcriptions from French and Italian Operas" and written by Charles Suttoni:

"This great fantasy was written in 1841, and by calling it "Don Juan," Liszt may well have been thinking of the work's elaborate and similarly titled production then current at the Paris Opera. But, whatever its source, the Lisztian vision of "Don Giovanni" (1787) juxtaposes and contrasts three highpoints of the drama. Its opening concentrates on the Don and the slain Commendatore by combining the music of their Act II graveyard scene with that of their awesome confrontation at the opera's climax where the Don is dragged off to Hell. The lyric middle section gives the Don's seductive first-act duet with Zerlina, "La ci darem la mano," followed by variations, and the Don's Act I aria "Fin ch'han dal vino" provides the brilliant finale. This monumental work has, as Busoni noted, "the almost symbolic significance of a pianistic summit." It was first published in 1843 with a revised edition following in 1877."

Well, the point is in the first sentence but I thought I'd post the rest for an even more thorough understanding of the piece (for those who happen to be reading and are not already familiar with Mozart's opera).

[BoliverAllmon]

  When you concertize rather extensively, it doesn't allow for very much practice time.

koji

I guess so. I had a master class with Walter Hautzig once. He was talking about how he would have 10 concerts in the next 12 days sometimes. Each of those concerts was a different concerto. The only time he had to practice was on the plane rides to the next city or country. Mental practice saved his career. Crazy.

boliver